I took my dad to opening night of Pacific Northwest Ballet's Sleeping Beauty. It was our first dad/daughter hangout in years and my dad's first glimpse of a professional ballet company in action. It was also the first time I was enthralled by a performance of Sleeping Beauty, but it wasn't that the production had changed or the dancers any more talented or engaged. I'm seeing things differently these days.
I was lucky to live the dream of the 90s through my early twenties and thirties. My social life revolved around a neighborhood coffee shop, I lived alone in an small basement studio on Capitol Hill, and I payed my way through college with a collection of weird jobs. I had a good time but existed under a cloud of jaded antipathy for anything that smelled remotely of The Establishment, and this included princess-driven classical ballets, stay-at-home parents, and Subarus.
Oops. Look at me now.
Twenty years later I make part of my living writing about classical ballet, I stay home with my three year old son and low and behold I drive a flippin' Subaru. The highlight of my February was a classical ballet fairly dripping with princesses, sparkles, and the most incredible technique and artistry I've seen in my decades of watching world-class dance.
Pacific Northwest Ballet is known for tall, leggy ballet dancers but is increasingly embracing a diversity of physique in their company. Some dancers, like opening night's Princess Aurora Lesley Rausch, are tall and long-armed, with gravity-defying grace and arabesques that seem to stretch for days. During her pas de deux with Jerome Tisserand's Prince Florimund, Rausch's strength was at its finest and the flicks of her head at the end of turns, her leg extension and expressive hands gave the impression that it was her mastery of movement that guided the orchestra, rather than the conductor (no offense, Mr. de Cou--we know you're a master).
There was an equal magic to the small-framed dancing from newly-promoted principal dancer Leta Biasucci's Bluebird, her strong legs and expressive face flitting appropriately through the variation while easily maintaining the same authority onstage as Rausch's Aurora and Lindsi Dec's Lilac Fairy. I don't point this out to criticize dancers' bodies but to point out how perfectly Pacific Northwest Ballet nurtures the individual physicality and artistry of its dancers. Artistic director Peter Boal doesn't aim for a company of identical automatons--he operates a company of artists who develop their own talents and style and very clearly enjoy their work. Everyone onstage in Sleeping Beauty--especially the outstanding Jonathan Poretta as the weirdly beguiling Carabosse--was having a super great time!
It's painfully obvious when dancers aren't enjoying themselves onstage, it can ruin a show. But Rausch's face clearly exhibited a passion and joy for her work along with the intense concentration that guides her through her increasingly exceptional dancing. Wouldn't it be great if we could all enjoy our work like this? If our bosses encouraged us to be our best selves and to incorporate some amount of play into whatever we're producing? This hard-won mastery of skill and play, I realized while watching Sleeping Beauty, was the pinnacle of success. I never succeeded as a ballet dancer but this equation is exactly what I experience as a mother.
I like to think that I look as happy and passionate about my jobs as Rausch's Princess Aurora. Most of the time I probably do not, my eyes bagged from lack of sleep and my frizzy hair tucked under a hat as I chase my son through the Arboretum or drag him through Fred Meyer at rush hour. But I am, I promise. And I wonder if artists and parents are the only ones who can consciously do this at work without getting canned.